Chef (2014, dir. Jon Favreau)

A former high-flying chef finds himself again as a food-truck operator after being humbled. At once obvious and sentimental yet fun, sweet and charming, bolstered by great character actor performances, Chef is a treat if you go with it.

Triple Threat (2019, dir. Jesse V Johnson)

Mercenaries accidentally free a terrorist. This gleeful team-up of multiple DTV action stars doesn’t quite hang together in story terms, but there’s no doubting the fun to be had if shootouts, martial arts combat and fistfights are your thing.

Kursk: The Last Mission [AKA The Command; AKA Kursk] (2018, dir. Thomas Vinterberg)

A sombre retelling of the 2000 Kursk submarine disaster. Okay drama-documentary that takes some liberties with the actual timeline, and which struggles to make the inevitable dramatic, despite good performances. The usual points made.

Stop Making Sense (1984, dir. Jonathan Demme)

Filmed record of Talking Heads live, from the 1983 Speaking in Tongues tour. Shot over four nights, this is perhaps the greatest single concert movie; a project designed by people with cinematic, musical, theatrical and gig awareness. Recommended, even if you don’t care for the Heads‘ nerd-art-funk.

Death Trench [AKA Trench 11] (2017, dir. Leo Scherman)

In the last moments of WWI, a team go behind German lines to investigate a mysterious compound where chemical weapons may be being developed. Okay addition to the period military zombie subgenre: the 1918 setting is a bonus. The usual infighting, mad doctor, odd alliances plus marauding infested shenanigans ensue.

Mary Queen of Scots (2018, dir. Josie Rourke)

A dramatisation of the rivalry between Mary of Guise and Elizabeth of England. Goodlooking though talky and obvious historical retelling, neither drama nor straight history lesson. A couple of nice moments, and there’s strength in the visuals and the cast, but the script is the problem here.

Look Away [AKA Behind The Glass) (2018, dir. Assaf Bernstein)

A bullied teen starts to think she has a doppelganger. Low-key and wintry chiller that cribs bits from the genre – Carrie, Damien: Omen II – though offers some pleasures of its own, not least in its Cronenbergian look and some good, if muted, performances.